Archive for the ‘Animation’ Category

Campbell Con 2015

Monday, July 6th, 2015

Source: Campbell Con

Official Press Release for the 1st Campbell Con follows
Since Campbell is a relatively small town, the whole idea behind this convention is that it’s a much smaller and more intimate event. Most well known conventions such as the San Diego Comic Con, Fanime, Emerald City Comicon, SacAnime, et cetera, are rather large and have a very different vibe and energy to them. Since they are larger, fans get less one-on-one time with guests, speakers, and industry professionals. While there are meet and greets, signings, panels and more, there is a certain sense of a disconnect (at least for me).

Campbell Con aims to allow fans to have more individualized interactions with the folks they admire and follow. Be it actors, voice actors, cosplayers, artists, collectors, vendors or anyone well regarded across one or various platforms or industries, the fans will have plenty of opportunities to meet with the professionals. If you’d like to know more about the convention, please visit the official webpage or look for the event on Facebook and follow the page!

The Facebook page is updated on a regular basis, and many posts talk about the latest developments in the world of comics, video games, movies, and more. A special offer for ticket discounts is available on the official Campbell Con Facebook page which expires August 1st of this year, so if you are interested please take advantage of the offer.

The entirety of the event will be held at the Campbell Community Center with the Banquet Hall being used as the main exhibitor room. There will be panel rooms at a nearby building, and the attendees are free to use all of the outdoors spaces as well.

Source: Campbell Con

Source: Campbell Con

You can also ask questions directly on the Facebook page if there’s any clarification needed. I will be attending the event and will cover it on the blog, take plenty of pictures, and hopefully meet some cool people. I think folks from Cogswell, and fans from all around would enjoy this event. Stuff to do includes: An Artist Alley, Board Games, Cosplay Events (without Prizes) Dealer Room, Formal Dance, Autographs (for a fee), Free Autographs, General Cosplay, Guest Panels, and Sci Fi Screenings.

Some interesting people and groups will be attending including but not limited to: Guest of Honor Chris Marrinan, artist/special guest Omar Morales, multitalent/special guest Dominick Brascia, Lassie child actor Jon Provost, voice actor/special guest Chris Edgerly, voice actress/special guest Margo Apostolos (this would be her first ever Con! She was Ewok warrior Tokkat in Star Wars Episode VI: Return of the Jedi), voice actress/special guest Georgie Kidder (Jedi Master Adi Gallia in Star Wars: The Clone Wars, also first Con!), voice actress/special guest Kathy Garver (Firestar in the 1980′s Spiderman cartoon ) and more.

Give the convention a shot, this is the first ever for Campbell and I for one hope it succeeds.

Juan Rubio – Cogswell College
3D Animation Student
Internal Public Relations, Blog Administrator/Writer
Industry News Coverage

Campbell To Get Its First Ever Pop Culture Convention

June 23, 2015 – CAMPBELL, CALIF. [The] City of Campbell is having its first ever pop culture convention. The event, called Campbell Con, will be held November 7, 2015 at Campbell Community Center and will feature celebrity guests, cosplayers, artists, collectors and vendors. Celebration of all things pop culture from comic books to movies to fantasy and sci-fi will put Campbell on the geek map of Silicon Valley.

“Being often overshadowed by San Jose, Campbell remains a great family-friendly community that needs a pop culture convention of its own,” – says Campbell Con Show Director Marina Lukyantseva and adds: “That’s why we decided to bring some geeky fun to Campbell and give it the tagline “Your Neighborhood Pop Culture Convention. You don’t need to travel far to meet your favorite celebrities and have a day of fun for the entire family”.

[The] Guest of Honor this year is renowned comic book artist Chris Marrinan, best known for his works for Marvel and DC including Excalibur and Wonder Woman. The celebrity guest lineup also includes actor Jon Provost (Lassie, The Country Girl, Back From Eternity, Escapade in Japan), actress Kathy Garver (Spider-Man and His Amazing Friends, The Ten Commandments, Family Affair), actor Dominick Brascia (Friday 13th Part V, National Lampoon’s Last Resort), comic book artist John Heebink (Mighty Morphin Power Rangers, Nick Fury Agent of SHIELD), artist Mark Badger (Batman: Jazz, Spiderman Online), Underground cartoonist Bruce Simon and Omar Morales [creator of the comic book ‘CruZader: Agent of the Vatican’], and cosplayer Silly Little Missy.

Campbell Con will also feature a Star Wars gathering with the following Star Wars Special Guests in appearance: Chris Edgerly (Jedi Master Eeth Koth in Star Wars: The Clone Wars), Zach Hanks (Garnac in Star Wars: The Clone Wars), Georgie Kidder (Ganodi in Star Wars: The Clone Wars), Angelique Perrin (Jedi Master Adi Gallia in Star Wars: The Clone Wars) and Margo Apostolos (Ewok warrior Tokkat in Star Wars Episode VI: Return of the Jedi).

Campbell Con promises to be a day of fun for [people of] all ages and fans of superheroes, comic books, movies, TV shows and collectibles. Attendees will also be able to shop from their favorite exhibitors and creators including Katie Shaw (Dragon Child), David Mejia, Christopher Cayco, Beyond Forever Studio, Heroes Comic Books, Herring & Robinson Bookbinders, Echo Base Media, The Carbonite Chamber, Amy Gohal, Steampunk Wolf, KatGirl Studio, Lost Graphics, Edgy Brothers, Illusive Comics & Games, Isle of Gamers, A Different Studio, Space Cat Comics & Cards, Pat Collectibles, Jack Kirby Museum and more.

“What makes Campbell Con different is that it is an experience that is pop culture with a touch of intimacy,’ explains the Show Director. ‘Unlike big corporate conventions where fans are rushed out, Campbell Con offers all attendees a unique opportunity to spend quality time with celebrity guests, creators, exhibitors and friends.

[The] Fun begins November 7, 2015 at 10 am and [the event] welcomes fans of all ages [that are] passionate about pop culture and especially comics and movies, [and] interested in all sorts of entertainment, media and technologies. Tickets available online only at

Source: Campbell Con

Project X’s Driven – Partial Team Retrospective

Tuesday, June 30th, 2015

Recently, we touched base with some of the team members/Cogswell Students that had worked on the Project X short film, Driven. Given that no press has been generated other than a short blurb on the Cogswell website, we decided to reach out and hear what some members of the team had to say about working on the film.

The following text is direct from each person specified, and may or may not feature edits done in order to provide a smoother reading experience.

From Taylor Hodgson-Scott:

My Responsibilities on the Animated Short Driven:

Source: Official Driven video, Youtube

I was the Lead animator on Driven, responsible for a heavy share of the 3D Animation. This involves making the characters and vehicles/bicycles move believably and have the characters emote in a way they can connect to the audience. As the lead, I also headed up the other animators to make sure their shots were consistent with the shots around them and the motion style we were targeting. Ultimately, the director had the final say, but delegating some animation critiques to me allowed him some time to allocate elsewhere in the production, and allowed other animators quick feedback.

I also compiled the reel, taking all of the latest animations/rendered shots and editing them together to view internally, and allow us to see the flow of the film and if each shot flowed into the next fluidly. Editing is important for capturing a feeling we need to convey- especially in the last third of the film when things are amping up, quick well-timed cuts are necessary for the feeling of speed.


3D Animation, Modeling, Rigging in Autodesk Maya 2011
Edited the film in Adobe Premiere Pro CS5
Texturing and Matte Painting done in Photoshop CS5
Rendered using the Renderman plugin for Maya 2011
Compositing was done in (Eyeon) Fusion (6)


About 4 months in Pre-Vis (Pre-Visualization), which included storyboarding and low quality animation to roughly time the film out
About 18/20 months in Animation/Rendering


This is more of a general mantra than a step-by-step. Production Pipeline is much better cataloged than what I can explain in this e-mail, but here’s a few rules of thumb that may be more helpful than the gritty process.

1) You need a story that you really want to tell. It helps if it comes from a personal feeling, because that will help drive the story and performance as you flesh your film out. It can also come from wanting to tell a series of gags or just having good times, but if you don’t care about the story it will fail and be painful to work on

2) You need to seek out and employ constructive critiques from others, inside and outside the film production. This is not about using other people’s ideas and make their version of your film, but rather taking their input to improve your work. Sometimes you need to instead take the spirit of a critique when making changes, but people are perceptive and pick up on problems that you’ll be too close to see.

3) Do as much planning in the early stages as you can, it will pay off tenfold down the road. Sometimes you’ll have to destroy an entire storyboard sequence and build it up again to do it right, but if it’s gotten deep into the animation stage already it will probably be too late to economically fix and meet deadlines.

4) Communicate with your team. So many students and (bad) professionals alike forget to do this, and it is key on getting stuff done. If you’re making a change that affects someone else, don’t leave them out of the discussion if you can help it.

5) Love it! If you love what you’re doing, you’ll be able to stick to it. Finding even the smallest thing to get excited about in a film or a scene can help carry you through the tough times.

From Peter Mo:

Source: Official Driven video, Youtube

As Lighting Supervisor on Driven I was responsible for ensuring consistency and maintaining a quality standard for the lighting department. Lighting is at the tail-end of the 3D production process (Composting and Video Editing come after, but they deal with 2D), so lighters often run into problems that go unnoticed through the 3D pipeline. Render crashes due to Maya nodes created during production, problems with topology or object placement or animation that only appear when you see how they interact with light, crashes and loading issues from referencing other scenes are just a few examples.

Troubleshooting was a big part of my responsibility because technical problems, ranging from little nuisances to show-stoppers, would arise on a regular basis. A lot of my early work was assessing what we could do with our available resources in terms of computing power, people-power, and streamlining things as much as possible.

We used Autodesk Maya 2013 and Renderman for lighting. Renderman has advantages over Mental Ray in a 3D animation pipeline: fast and high-quality motion blur, fast displacement rendering, and Renderman’s Deep Shadow system. Mental Ray’s raytracing capabilities are better, but we would use reflection mapping to fake glossy reflections.

We also used camera-projected textures in the 3D scene to better control the look and style. We rendered all frames in 32-bit/channel OpenEXR image format, which allowed us a lot more flexibility in color correction without worry of color banding. We rendered out many different passes per frame to allow us to adjust different lighting elements independently, such as diffuse, specular, reflectivity, and more, before combining them together.

Unlike the two previous projects in which I was working with students who had taken lighting class, I was working with a team that had little or no prior lighting experience. Lighting and rendering took place over 2 semesters, including a lot of training in the beginning. Even after lighting was mainly complete, re-rendering of certain things went on until the very end if changes were needed or if a problem could not be fixed in compositing.

We used render presets and light rigs as a way to keep things consistent across the shots at different times of day. We had a pre-dawn and sunrise setup for Acts 1 and 3 and an afternoon setup for the flashback portion in Act 2. The light rigs were updated and improved as needed and everyone would reference one into their scene to use as the primary light sources, for moon, sun, and sky lighting. Additional lights for characters were added on a per-shot basis and setups that lighters create that worked well were shared for others to use when appropriate.

For compositing, we used Eyeon Fusion 6. It is a powerful node-based compositing program which allowed us to quickly change or fix visual elements which would take much longer to do on the rendering side. Making certain parts of the composition modular and reusing them in each other’s scenes reduced the amount of redundant work we’d need to initially perform in order to build up a composite from scratch.

Useful effects and techniques that individual compositors came up with were also made modular, such as color correction nodes for shots that had been approved, or a heat-distortion effect that worked well. All monitors used for compositing were color-calibrated to ensure the closest possible image when viewed on any of those monitors. In additional to traditional 2D compositing techniques such as color correction, rotoscoping masks, and paint fixes, we also incorporated 3D techniques directly in Fusion.

To save on render-times for a lot of the vegetation in the environments, we pre-rendered various sprites, generated point clouds of their locations, and then imported 3D cameras and the point clouds from Maya into Fusion. The vegetation sprites would be attached to points on the point cloud and rendered from the 3D camera and placed over the 2D shot, all in Fusion.

Compositing took about 2 semesters worth of work with a few dedicated compositors and a few more that were splitting time between compositing and other responsibilities. An additional month could be counted for training since none of the students had ever used Fusion before. We had a Digital Tutors account and students studied many of their Fusion lessons. I also gave some lessons based on my experience using Fusion on previous projects.

For the first time on any project, we used our own in-house render management software instead of commercial software. It was customized to our needs and the developers were very responsive to our suggestions for improvements and additional features. Commercial render management software we’ve used in the past was not reliable and we couldn’t get the type of support we needed when problems arose. It definitely helped us all maintain our sanity–without it we’d pretty much have to take shifts around the clock to babysit each render job, especially at crunch-time.

Thinking back over the events during the production of Driven, I admit I was concerned how everything was going to come together at the beginning; however, the technology we used ended up working well enough and seeing how far the initially inexperienced team had come by the end of the project was very satisfying. I’m very proud of all the students who had sacrificed so much of their time and energy to making the film the very best they could.

From Steven Chitwood:

Source: Official Driven video, Youtube

Steven handled the VFX on the short, “All effects were done in Maya 2011, specifically. I used Maya fluids, particles, nParticles. Types of effects were fire, smoke, dust, explosions, and liquids. All effects were either rendered with Mental Ray or Renderman.” he says. Other programs used in the making of Driven included ” ‘Zbrush’ for 3D sculpting of characters and some environments, ‘Renderman for Maya’ (the Rendering engine used for the film), ‘Eyeon Fusion 6′ for Compositing, and finally ‘Mel’ and ‘Python’, for scripting.

To manage the team, a combination of verbal communication, along with email and other means were used to provide both official and unofficial ‘check in’ updates. “We used Google Docs for documentation including tasks for each departments, deadlines, and milestones. We did keep track of everyone’s hours and their tasks so we could accurately predict of where the project was going.” says Steven.

On the project pipeline, Steven said the following, “I was not in PX (Project X) during the beginning, I jumped in almost mid-way through but here’s my take. We first start off a pitch that Mike had and we discussed things of what did work and what didn’t for the story. Concurrently, we started create to concepts of the film while the modelers and animators were developing the layout of the film, also, the riggers were doing some RnD (Research and Development). Once some of the concepts were starting to be officially approved, modelers would start to make the final assets and create textures for them. Once assets, textures, and animations were done, those shots would be handed off to the lighters.

Lighters simply then light shots and render them and bring them to the next stage: compositing. Compositing is where we bring all the images together to make the final shots, making final tweaks to make the shots the way we want it. Keep in mind, when animators are done with shots and the assets are created, we also hand off those shots to the effects department (me).

There, we create the fire, smoke, dust, etc and then render those effects as well in separate images, just like what the lighters do. We then bring those also into the comp to finish the shots entirely. While we are doing this film, we are also doing an ongoing edit for the film. Towards the very last stages of the film, we edit the film and see what ever else changes/fixes we need to do.”

Lastly, in short the pipeline process is as follows “story->concept->look development->layout->modeling->rigging->animation->effects->lighting&rendering->compositing->final edit”, also “We decided to create our own render-farm. Our render-farm was used to expedite the rendering process.”

It’s very clear that a lot of work went into making the short film, everyone that worked on the project had a part in making it all possible. Fantastic work everyone!!

Source: Official Driven video, Youtube

Juan Rubio
3D Animation Student, Internal Public Relations, Industry News Coverage, Blog Administrator/Writer
Cogswell College

The Cartoon Art Museum: The Importance of Preservation

Monday, June 8th, 2015

From still images to full comics, concept art to finished animated works, The Cartoon Art Museum in San Francisco (currently located at 655 Mision St.) features snapshots , glimpses into the colorful history of cartoons across a variety of media. Chronicling great examples from every era since the very beginning, the museum (one of only a handful in the nation) is a beacon for all things cartoons. Unfortunately, the future fate of the museum is up in the air. Many of the exhibits and pieces of art have begun to be packed up in preparation for (hopefully) temporary storage while the museum seeks a new location.

The lease has been extended out into fall of this year but after that, nothing is certain. Recently, Deanna Trapp, a 19 year old University of Wisconsin student currently studying Web development, stopped by the museum for the first time with her sister, giving it praise. “It was cool,” she noted. “I loved all the different styles of drawing that were displayed.” Her sister, Jazmyn Trapp age 20, an animation student at Cogswell Polytechnical College in Sunnyvale, found the historical exhibit to be an eye-opening experience. “I never really read the newspapers or knew about comic strips,” she remarked. “I’m more a fan of 3-D animation like ‘How to Train Your Dragon’ by Dreamworks, but I respect that this, this genre of cartooning, is where it came from. It was educational, and it makes me want to go home and start drawing.”

Just as Jazmyn mentioned, its good to know where it is that today’s animated movies and cartoons got their start. Like a family tree for the world of cartoons, its important to not lose track of what happened yesterday on our journey to tomorrow. I’m hopeful that this generation of animators, modelers, environment artists, software and sound engineers, technical animators, and more look back and appreciate what came before them. This way, the past won’t be forgotten but rather preserved while new strides and revolutions are made in this industry. Thank you for reading folks, and be sure to try and visit the museum before it closes it’s doors this September.

Written by Juan Rubio, 3D animation student at Cogswell
With notes taken from the article “Is it the end of Cartoon Art Museum? No!” by Carolyne Zinko, featured in last Sunday’s SF Chronicle Datebook publication.

Recent News in Animation & more

Thursday, June 4th, 2015


Disney is releasing two critically acclaimed and fan favorite films from the famous Studio Ghibli on Blu-Ray! Widely considered to be a masterpiece, the Oscar award winning ‘Spirited Away’ (2002, Best Animated Feature Film) as well as the charming fantasy/adventure ‘The Cats Return’ will be made available for the first time in a Blu-Ray Combo pack on June 16th here in the US.

Created by world renowned filmmaker Hayao Miyazaki, one of the most celebrated and respected filmmakers in the industry, ‘Spirited Away’ is a feast for the eyes. With lush dazzling landscapes, minute details in things like environments and architecture, and a story bursting with adventure and wonder, its no wonder this film has been called an absolute masterpiece. ‘Spirited Away’ tells the tale of a young girl named Chihiro who ends up in a strange and unfamiliar world populated by spirits. After witnessing her parents undergo a bizarre transformation, Chihiro is tasked with finding the courage shes always carried as well as learning to cope with change in order to save her family and free them back into the outside world. A story for the ages, ‘Spirited Away’ is not to be missed if you haven’t already seen it.

The English-language voice cast is made up by Daveigh Chase (Chihiro), Suzanne Pleshette (Yubaba/Zeniba), Jason Marsden (Haku), Susan Egan (Lin), David Ogden Stiers (Kamaji), Lauren Holly (Chihiro’s Mother), Michael Chiklis (Chihiro’s Father), John Ratzenberger (Assistant Manager), Tara Strong (“Baby”) and Bob Bergen (Aogaeru).

While the original Japanese version was written and directed by Miyazaki, the English-language version was produced by Donald W. Ernst and John Lassetter (of Pixar). Bonus content in this new release includes an introduction by John Lassetter, in addition to “The Art of Spirited Away” and “Behind the Microphone” featurettes and original Japanese storyboards, Nippon Television Special, original Japanese trailers and TV spots.

Also from Studio Ghibli comes ‘The Cat Returns’. Directed by Hiroyuki Morika the film follows Haru, a schoolgirl bored and unsatisfied by her ordinary routine who saves the life of a mysterious cat and suddenly finds her world flip-turned upside down. To alter her destiny, she must learn to believe in herself and in turn, appreciate her everyday life.

The English-language voice cast is made up of Anne Hathaway (Haru), Cary Elwes (The Baron), Peter Boyle (Muta), Elliott Gould (Toto), Andy Richter (Natoru), Rene Auberjonois (Natori), Tim Curry (Cat King), Judy Greer (Yuki), Andrew Bevis (Prince Lune), Kristen Bell (Hiromi), Kristine Sutherland (Haru’s Mother) and Katia Coe (Little Haru).

Bonus features for ‘The Cat Returns’ include the original Japanese storyboards, original Japanese trailers, TV spots, and two features: “The Making of ‘The Cat Returns’” and “Behind the Microphone.” Again, don’t miss either of these releases on June 16th.


‘Uhcharted 4: A Thief’s End’ developers Naughty Dog have divulged details of major improvements to their internal facial animation rigs used since Uncharted 3 and the Last of Us. They claim face models now animate with around “300 and 500 bones”. Writer Josh Scherr spoke to GamesTM and quantified the improvements by comparing them to rigs used in previous Uncharted titles, and ‘The Last of Us’ which used “about 90 and 100 ‘bones’ in their faces.”

“We’ve completely revamped our facial animation systems,” Scherr commented. “Think about that, how detailed Joel and Elli’s pained facial expressions were, how well the game captured the respective actors … Now, the faces have anywhere between 300 and 500 bones.”

“(This) lets us emote more, with all the ‘bones’ we can put onto (the face) – you pan round the camera to look at Nate’s face when he’s climbing and you see him grimacing and all this kind of stuff … we’re pushing detail on a macro and micro level that I think people are really going to respond to,” chimed in lead designer Ricky Cambier.

Nathan Drake face detail, source:

On previous Naughty Dog games, “some of the animations might have been sample(d) at 10 or 15 frames per second to save memory,” these captured frames would then be run through software to interpolate or “tween” (in-between) them to run at 30 frames per second in game. This new technology can “afford to record [footage] at 30 frames per second so that [it'd] look that much smoother.”

“If you look at the first Uncharted and how that looked versus how The Last of Us looked … I have difficulty fathoming that we’ll have that kind of graphical leap in the next several years. The reality is, we probably will as we learn the systems better, so it’s all up from here, and that’s exciting.”

Naughty Dog has said it is targeting 60fps for Uncharted 4, but the studio won’t push the PS4 game that far if it affects the gameplay in a negative way. According to director Bruce Straley, the Uncharted 4: A Thief’s End – Gameplay Demo was hard locked at 30fps, however, the game is now achieving higher frame rates.


What if the dinosaurs hadn’t have gone extinct? This is the question animation studio Pixar poses in their latest film, ‘The Good Dinosaur’. Anyone who’s been following this movie knows its had trouble getting onto its feet, after a change in directors, and a pushed back release date ‘The Good Dinosaur’ is finally ready to be shown off to the public.

The story is somewhat simple, but full of the signature charm and multi layered approach Pixar has been recognized for. A boy and his puppy… except the roles are reversed, the boy is a wild child (the puppy) and the dinosaur is the one offering life lessons to the boy. With the help of the good dinosaur, the boy learns more about the world, himself, and how to be a normal human. Originally pitched and directed by Bob Peterson, the movie has been shifted over to Peter Sohn.

Peter Sohn has been the inspiration

Arlo (the boy) isn’t seen much in the trailer, with the teaser focusing more on the titular Good Dinosaur, and the situations he finds himself in. Most of the trailer is spent focusing on the asteroid that never impacted this big blue marble we call Earth. Glimpses of Arlo are seen towards the end, which is sort of a shame as Sohn won the directors position after his insistence on the boy-and-his-dog archetype. Sohn told Yahoo! the following:

The heart of it has always remained the same in terms of the boy and the dog. I’ve been very diligent with the story team to kind of protect that and focus on that more. In terms of the world, it has kind of changed a bit here and there, and some of the characters have gone out and new ones have come in.

“We’ve been trying to find physical obstacles and and emotional obstacles for our main character, and nature can represent both. In a lot of the research that we’ve done, going out into the Northwest and out into the wilderness, I cannot tell you how beautiful and scary it can be, and how quickly nature can just turn on you. And we’re trying to finding the truth in that in terms of Arlo’s growth.”

Watch a trailer for ‘The Good Dinosaur’ on YouTube, it will be released November 25th of this year, one day before Thanksgiving.

Juan Rubio

Patrick Osborne to Deliver Cogswell Commencement Address

Monday, May 11th, 2015

Source: Animation Magazine

Sunnyvale, CA — Cogswell College, a 600-student educational institution offering a unique curriculum fusing Digital Art, Engineering and Entrepreneurship, will host Academy Award-winning animation director Patrick Osborne (“Feast”) during the school’s commencement ceremonies on May 16th. The event begins at 11 AM, and will be held at Club Auto Sport in San Jose, CA.

Based on the theme of “Learning to enjoy the blank page in front of you,” Osborne’s keynote will address Cogswell’s Class of 2015.

“It is such an honor and privilege to have Patrick Osborne, a brilliant and gifted animation industry director, agree to speak to our students on one of the most important days in their lives — college graduation,” said Dr. Deborah Snyder, Cogswell College’s President & Chief Academic Officer. “His exceptional talent serves as a role model for many of our students who aspire to walk in his footsteps. We are so grateful he is willing to share his experience and ideas with our students, as they embark upon the next phase of their careers.”

Osborne is the winner of a 2015 Academy Award for Best Animated Short Film for his original short film, Feast. Starting in 2008, he worked in-house with Walt Disney Animation Studios, where he animated on Bolt, Tangled and Wreck it Ralph, and acted as Head of Animation on the Oscar winning Paperman. In addition, Osborne was also the co-head of animation on the smash hit animated feature film, Big Hero 6.

Osborne began his professional career as an Animator at Sony Pictures Imageworks, where he animated on an assortment of films, including I Am Legend and Surf’s Up. He later worked at gaming company Electronic Arts, Inc., where he contributed to the Tiger Woods PGA Tour 2003 videogame title.

Born and raised in Cincinnati, Ohio, he is a 2003 graduate from the Ringling College of Art and Design with a BFA in Computer Animation. Osborne lives with his wife, Ali, in the Silver Lake area of Los Angeles.

Source Article: Animation Magazine

Juan Rubio

Recent News in Animation and More

Wednesday, May 6th, 2015

source: (cc) flickr user fleecircus

When reading about famous animators I’ve come to realize there is a very clear trend, there seems to be more coverage of male talent vs female. Is it that I’m not looking in the right places? Or perhaps there is actually more male than female artists in general, I’m not exactly sure to be quite honest. Luckily, Canadian artist Heather Kai Smith has taken it upon herself to create a website/database called Great Women Animators.

Great Women Animators says its a “collection, dissemination and categorization of identified women who have or currently work in the field of animation.” The website features biographies, filmographies, and images from female artists from the early 1910′s up until present day, illustrators, and contributors. Not limiting itself to western film, Great Women Animators also features artists from Japan, the former Soviet Union, and other international animation regions.

The project began as a month long series of film screenings hosted by Kai Smith in the summer of 2014. At the event, the attendees analyzed and explored “techniques and thematic influences of these women animators” and took part in “discussions regarding feminism in the field of animation, masculine and feminine aesthetics, and what it means to be a woman working with animation today.”

Great Women Animators is very much a living, breathing creation, which is to say its a work in progress that’s constantly evolving. The about page reads, “This is an ONGOING project and this list is by no means comprehensive. New animators are added all the time.”. The website also features a resource list, where visitors can look at and explore related websites, events and academic journals.

The site not only sheds light on women animators, but its also a reminder of all the work that goes on behind the scenes of our favorite cartoons and and movies. Please check out the website and show your support!


In other news, Pixar’s new movie “Inside Out” has been confirmed to premier at the 2015 Cannes Film Festival! Director Pete Doctor, who was behind “Up” (the first animated feature ever to be the festival’s Opening Ceremony film), producer Jonas Rivera (Up), and co-director Ronnie Del Carmen (Up) will be in attendance at Cannes, along with members of the all-star English-language voice cast.

“We are overjoyed at being included in this year’s official selection at Cannes,” said Docter. “With Inside Out, we spent years imagining — and then building — never-before-seen settings and characters within the mind. It was an incredible, fun and exciting challenge and now we can’t wait to share it with the world.”

“Inside Out” follows the story of a young girl named Riley, who moves away from her life in the Midwest when her father starts a new job in San Francisco. Riley is guided by her emotions: Joy (Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) and Sadness (Phyllis Smith). The emotions live in Headquarters, the central hub inside Riley’s mind, where they help get her through her struggles in adjusting to a new city and school.

Disney/Pixar is going to premier ‘Inside Out’ in 3D in theaters everywhere starting June 19, 2015. The 68th annual Cannes Film Festival will kick off on May 13th, and you can view a trailer for the film on YouTube.

Source: Cartoon Brew

Also premiering at Cannes is filmmaker Mark Osborne’s ‘Le Petit Prince’ (The Little Prince), known for being the director of Dreamwork’s ‘Kung Fu Panda’, Osborne’s take on the french children’s story is fresh and vibrant. It will be released October 7, 2015 in France by Paramount Pictures, a US date has not been announced but Paramount Vantage has US screening rights already. The film is a new interpretation of Antoine de Saint-Exupéry’s classic 1943 novel ‘The Little Prince’, presented through the eyes of a young girl who discovers the book thru en elderly reclusive neighbor.

The film features two distinct styles, a familiar and contemporary CG world while we follow the girl’s story, and a beautifully rendered paper world when following The Little Prince. In this vibrant world everything is made of different sorts of paper and animated with the meticulous process of stop motion. We see everything from scraps of torn construction paper, to elaborate sets carefully made out of tissue paper, the world of ‘The Little Prince’ offers a refreshing break from the otherwise standard style of most CG animated films today. The book is the most-translated-French story of all time, selling over 150 million copies worldwide. The new movie was developed primarily by Mikros Image in Montreal, Canada, where Osborne is currently residing.

Watch a trailer for the movie on YouTube.

Juan Rubio

Pixar Resume Presentation

Monday, May 4th, 2015

Source: Pixar Times

On April the 29th, I attended a presentation at Pixar by two leading HR recruiters in the industry who specified the do’s and don’ts of the application process. The presentation was highly informative and answered many burning questions that any applicants might have for companies looking to hire. I took notes on what the recruiters said they were looking for, and would like to share them with other Cogswell students.

• Include all of work experience with dates, keep updated. Don’t worry so much about formatting.
• Put work experience before schooling.
• Make contact info easy to find.
• List software skills. (Maya, Zbrush, etc) Make sure of proficiency. Some people put level of experience next to the software.
• Clubs, interests, awards are good to list.
• Font doesn’t matter, readability does.
• Prior work experience that isn’t industry experience is acceptable.
• References aren’t necessary, they come later in the hiring process.
• If you took time off to travel, include in resume.
• High school details don’t really matter.
• Objectives, if included, should be focused. It’s ok not to have it.
• Personal logos don’t matter so much.
• If you have experience/education in one thing but really have interest in another, present that.
Cover Letter
• In production, the cover letter is everything. It’s all recruiters have to know your personality.
• Summarize who you are, what you do, and why you want to do the job. Don’t go on about your life story, but clearly explain why you would be the best candidate.
• It is very good to have a cover letter, and you should always have one available. Sometimes, hiring managers do skip reading the cover letter and go straight to the resume.
• Don’t be a fanboy.
• Don’t be arrogant. The cover letter is about your story and you—tell it like one.
• Humility and being humble will take you far.
Demo Reels
• Should be around 2 minutes. Quality is better than quantity. Most recent work in the front if possible, things that you’re really proud of.
• Do call-outs in your demo reel, clarifying what you did if you’re presenting group work. Be honest about what you’ve done, specify your job.
• Sound isn’t necessary, unless it’s lip-syncing.
• ONLY include best stuff. Don’t put in filler material.
• If submitting on a website, having demo reels separated into different subjects/different areas might be good.
• They can see all the positions you’ve applied to. Don’t go applying for every job available at the studio. Be certain about what you want.
• It’s ok if the demo reel is super short, only include best work.
• Social media can influence a decision.
• Be well-presented. Dress well, care about hygiene and personal appearance.
• Come prepared. Make sure links, material is all set and ready to go.
• Do research on the company. Know about the films and their work.
• Come early, rather than late.
• Show interest, speak about what you’re applying for. Know about your position.
• Ask genuine questions, ones you can’t find on the website.
• Be humble!!
• Make eye contact with everyone.
• Write a thank-you email to the recruiters. It’s okay to follow up.
• Check-in emails are good. If you got really close in the interview process, every 3-6 months you can stay in contact with recruiters.

Sierra Gaston

Recent News in Animation

Tuesday, April 21st, 2015

Image source:

The Academy-award nominated, BAFTA award winning, and French academy award (Cesar) winning filmmaker and director Sylvain Chomet (director of ‘The Illusionist’ and ‘The Triplets of Belleville’) has just directed a brand new animated music video for “Carmen“, a song off of Rwandan-Belgian rapper Stromae’s album ‘Racine Carrée’.

The video is very clearly done in Chomet’s style, a look achieved by scanning pencil drawings into the computer and then coloring them. With minimal cleanup if any, and watercolor style backgrounds, this creates a more raw look that is both appealing and refreshing to see. The song is loosely based on the 1800′s opera of the same name, and features an animated Stromae struggle with his addiction to Twitter. What begins as a small habit soon turns into a massive weight on his shoulders, an obsession that sinks its claws into every facet of his life, from friendship to love.

The video was released Tuesday, March 31st on Buzzfeed, and has gotten over 5 million views on Buzzfeed and 2 million views on Youtube. It was produced at Th1ng, Chomet was not only the director but served as lead animator as well alongside Neil Boyle. Background layout was done by Marcin Lichowski, while Kirk Hendry served as lead compositor and lighting designer for the short.

Fans of Chomet’s style might also want to check out his Simpson’s Couch gag, which can be viewed on Th1ngs channel on Vimeo.


Industry veteran Will Finn (animator, voice actor, character designer, storyboard artist and director) with nearly 40 years of experience has offered his thoughts and advice to anyone who’s dream it is to work in animation. In his blog post, “Why You Shouldn’t Want A Job In Animation”, Finn spoke about and explained the difference between a ‘job’ and a ‘career’ in animation:

“To me a job is something you depend on from an employer. It’s theirs to give and theirs to take away… A career is something I have to be responsible for based on my reputation, my ability, and my preferences. I don’t expect much beyond what I invoiced for last week, and I keep tabs on whatever’s coming up—staying in touch with long-term contacts and making new ones almost constantly. I try to keep at least one ‘Plan B’ in mind at all times. And that’s fine. A career is like a life: mine to tend, mine to succeed or fail at, mine to take credit and blame for, mine to earn. I would not have it any other way.”

In the post, Finn also speaks about what it was like starting his career at Walt Disney Animation studios. Following his childhood dream only to have that dream ripped apart after “barely nine months” on the job”, while working on ‘The Fox and the Hound”, getting into behind the scenes politics, his run in’s with the higher ups, and producing work that was “substandard even for a newbie”.

This was his first crash and burn with Disney, Finn would later come back to Disney to supervise the characters of Cogsworth in ‘Beauty and the Beast’ and Iago in ‘Aladdin’, he also worked for Warner Bros., Dreamworks, the Don Bluth Studio, Reel FX, IMAGI, Renegade Animation, and others.

In his third leg at Disney in 1999, Finn would come to realize that his original childhood dream of working at Disney until retirement was clouded by the innocent lens of youth.

“Senior Disney artists who I remember envying on that day in 1979 when I got let go were being given their 20th and 25th anniversary pins alongside pink slips terminating their employment. Some of them had never worked outside the studio and the transition must have been difficult. But at that point I knew while I still admired their talent and artistry, I had stopped envying the idea of a long tenure at a single studio long ago. In 2004, I was on the pavement again, looking for work.”

If you would like to read the full post, please do so on Will’s Blog.

Juan Rubio

Recent News in Animation

Thursday, April 16th, 2015


Studio Ghibli’s latest film ‘When Marnie was There’ has just begun to premier in USA, and company GKid’s has just released a new trailer for the film. Earlier last month the film was given a limited release in theaters, with it slowly rolling out to select theaters in New York and L.A., and a wide release in summer. With Ghibli veteran Hayao Miyazaki’s retirement last year, many have questioned the fate of Studio Ghibli’s future, ‘When Marnie was There’ shows promise however showcasing the signature Ghibli style.

The film is based on British children’s book ‘When Marnie was There’ by Joan G. Robinson, and is said to be one of Hayao Miyazaki’s most loved children’s books. It follows the story of a lonely girl who moves to a seaside town and meets a strange new friend. The official synopsis reads:

“Sent from her foster home in the city one summer to a sleepy town by the sea in Hokkaido, Anna dreams her days away among the marshes. She believes she’s outside the invisible magic circle to which most people belong – and shuts herself off from everyone around her, wearing her “ordinary face.” Anna never expected to meet a friend like Marnie, who does not judge Anna for being just what she is. But no sooner has Anna learned the loveliness of friendship than she begins to wonder about her newfound friend…”

Watch the trailer on YouTube.


In other news, The Incredibles 2 has been confirmed to be in development! Last year Bob Iger broke news that a sequel to ‘The Incredibles’ was being worked on, and recently news has surfaced that director Brad Bird has begun penning the story. In an interview with NPR, Bird said that the project is “percolating” and he’s just now working with story elements. This hint’s at Bird having creative control of the project, which is promising since Bird has been known to avoid sequels unless the right story was developed. Considering the original film and characters mean so much to Bird, we can rest assured that he will give the new story the respect and treatment it deserves.

Pixar Veteran John Lassetter had the following to say about Pixar and the concern over Pixar’s sequels, including ‘Toy Story 4′:

“We do not do any sequel because we want to print money,” Lasseter says. “We do it because each of these films was created by a group of filmmakers, and to my mind, they are the owners of that intellectual property.”

“So we look at it with the simple question: Is there another story we can tell in this world? And that desire has to come from the filmmaker group. Sometimes, the answer is an obvious yes. And sometimes it’s, ‘I love the characters and I love the world, but I don’t have an idea yet.’ And sometimes it’s just, ‘that movie is a great movie,’ and the filmmaker wants to move on and do something else. And that’s fine, too.”

Juan Rubio

Don Hertzfeldt on ‘World of Tomorrow’

Tuesday, April 14th, 2015

Image source:

Independent animator and filmmaker Don Hertzfeldt has just released his latest short, titled ‘World of Tomorrow’, on Vimeo on Demand after having screened it at film festivals like Sundance and SXSW. For those who don’t know Hertzfeldt, he is most well known for his short “Rejected Cartoon’s”, a surreal film in which various cartoon adverts for “The Family Learning Channel” are played back to back. The cartoons eventually begin to fall apart and lose sense and structure, a reflection of the fictional artist’s own descent into madness.

‘World of Tomorrow’ follows a young girl, played by Hertzfeldt’s own four-year-old niece Winona, on a journey through the memories of her future self. Don describes the character as “Mary Poppins but with part of her brain missing” in a recent Reddit AMA promoting the film. When asked about what is was like to work with his niece, Hertzfeldt said “I don’t know why I was ever under the impression I could direct a 4-year-old.”

“She wouldn’t even recite lines back to me. Everything she says in the film is just her being herself while we hung out and talked about the world…”. He later went on to say that he ended up using an iPad app to record her, and rewrote parts of the script to match her dialogue. Hertzfeldt mentioned working with these limitations was sort of fun, having to improvise the animation along with her dialogue.

On the subject of the creative process, Hertzfeldt described it as if “…you’re floating in an ocean, and you want to build a raft. So you just float there and you wait and wait. And eventually this little piece of something comes drifting by, maybe a memory, and you hang on to it, and then another little piece comes around, it is unrelated, maybe it’s a funny sentence you overheard somewhere…”. He says more and more pieces drift by and you collect them until you have enough to build a raft, and eventually you have to make a decision.

Which pieces are essential for the raft and which aren’t? Writing a story is very similar to his raft idea, you collect ideas and see what works well together and toss whatever doesn’t help the story, or raft, float. He also notes that he doesn’t spend a lot of time “swimming around, or (doing) calculation(s)…”, saying stressing over details or trying to figure things out is like poison for creativity, “The big ideas won’t happen right when you mentally stress on them… It is more a matter of being patient and being open to all the things that just drift in.”.

Don was asked about why he chose to release ‘World of Tomorrow’ on Vimeo on Demand, and he responded by saying “It’s a bit of a risk, I’ve traditionally funded everything else through theatrical tours and DVDs, and most people will tell you there’s no market for shorts online. But if we continue to believe that without ever trying to do anything to challenge it nothing will change, right?”. He praised Vimeo’s ability to allow him to update his videos throughout the 30-day rental period, saying he could improve picture quality by using better compression methods, or replace the footage altogether.

He’s come to like the 30-day rental concept, regarding it as a 30-day movie ticket, where you can watch the film as many times as you wish and get more out of it. With the knowledge that the film will disappear after a set time, and that we won’t actually own it, it turns into more of an experience and less of a fleeting though like many of today’s films. “What if after the end of the 30 days I deleted all of the master files and removed it from theaters and the film will forever only exist in our memories? Isn’t that kind of beautiful? Ok I won’t do that.”.

Someone asked why ‘he didn’t just post the video to YouTube for free and use their algorithm to generate revenue’ to which Hertzfeldt answered, “Vimeo gives the filmmakers a 90% share, which I think is unprecedented. They also seem to genuinely care about presentation. YouTube gets more traffic than anybody, but they are sort of eating themselves alive with advertising.”. Since Don is an independent, he has to sustain himself and as such has started to sell his shorts and films through platforms such as Vimeo.

“For the survival of young short-film makers and aspiring animators today, we really need to begin training people to pay for short films. Theatrical tours and DVD sales and the old models that I relied on are not going to be realistic much longer for them (or even for me).” He notes that the free YouTube model the public is growing fond of is hurting independent filmmakers, its teaching the newer generations of artists that their work has no value and that their “silly” personal projects should just be dumped online for free.

Unfortunately, the “free” model isn’t exactly viable for most people working on their own as Hertzfeldt does, “… if they’re lucky it will attract an advertising gig to pay the bills. And maybe make one more “personal project” that they can do on the side again. It’s not a good cycle.”. Don then began to speak about how he was on the Sundance Jury a few years ago, he watched amazing short films and independent productions that were met with great praise from the jury and festival attendees alike. Unfortunately, these same films would later fade into obscurity after their festival screenings, with little to no funds for a theatrical or physical release and with the creators reluctant to upload their films for fear of having them circulated for free, these films often disappear.

He says, “…many filmmakers aren’t even bothering with the internet… ‘Getting exposure’ doesn’t fund films. When you pay to see a movie you are casting a vote. You are saying, hey please go make more of this sort of thing.”. Everyone knows that Hollywood is a machine that makes money, and all it wants to do is make more money. People tend to bemoan and complain about the string of bad movies we’re forced to watch in between the few gems, and yet they line up to see them, casting their votes for more bad movies to be made. Nobody is forcing people to watch the “bad” movies, but they go and watch them anyway. However, when people pay to see independent movies they are saying, “hey i’d like you to actually have the chance to go make another one.”.

Hertzfeldt announced he was working on a new feature length film as well, ‘Antarctica’, saying the only thing holding it back at present was paperwork. He mentioned he will continue to make more shorts leading up to the new film. Finally, when asked on how he defines art Hertzfeldt said, “Anything artificial that is intended to produce an emotional reaction.”.

You can see some of Don’s shorts on his channel at YouTube, watch his short ‘World of Tomorrow’ on Vimeo on Demand, and check out his website. If you’d like to find out more, including Don’s favorite ice cream flavor and his opinion on David Lynch, you can read the full AMA here.